Dvořák’s Violin Concerto
Notes by TŌN violinist Luca Sakon
Dvořák’s violin concerto is now a core part of the violin repertoire, but it was an unusual concerto for its time and only spread globally decades after it was written. Dvořák wrote his concerto for the famed Austro-Hungarian violinist Joseph Joachim at the suggestion of his publisher, Fritz Simrock. Joachim was an important figure as a violinist and interpreter of music. He had direct contact with leading composers like Brahms, who greatly supported Dvořák and connected him to Simrock and Joachim. Joachim soon also became one of Dvořák’s supporters and often performed his chamber works. However, his advice on the concerto involved so many changes that Dvořák destroyed the original version and changed the “whole concept of the work.” After sending this revision, he waited two years for Joachim’s reply. Joachim finally reviewed and revised the solo part, but he never performed the concerto.
The premiere came in Prague in 1883 with Czech violinist František Ondříček as soloist. His performance dazzled audiences, and he increased its popularity by presenting the concerto at his concerts. However, it had limited international circulation and was not established in the concert repertoire until the mid-20th century.
The concerto has many elements that set it apart from others and made it new for both violinists and listeners. It is in a traditional three-movement structure with the outer two movements fast and the inner movement slow and lyrical. However, the first movement goes straight into the second movement without the typical expansive, grand endings of most first movements. In the beginning, the solo violin introduces the thematic material with virtuosic flare, without a customary orchestral exposition, and there are various sections where the violin part sounds improvisatory. The concerto is also filled with Czech folk rhythms and syncopations common in Czech dance music, which was unusual in virtuosic concertos at the time. The finale is inspired by the furiant, a Czech folk dance, and Dvořák brings out his instrumental mastery by filling in such energetic and joyful musical expression. Whilst highlighting the violin’s virtuosity, Dvořák incorporates his distinct compositional writing, drawing from his Czech background, and creates memorable lyrical lines throughout the concerto that leave a lasting impression.